Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tonga and from Manila.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1971.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Sao Paulo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Fire Engines to the rap kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Bobby Sherman. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Rosa Yemen,
Rakim,
Electric Light Orchestra,
CMW,
Half Japanese,
Henry Cow,
Connie Case,
Swell Maps,
The Fuzztones,
Bang on a Can All-Stars,
The Cowsills,
Das Ding,
E-Dancer,
Eli Mardock,
Ohio Players,
Rapeman,
Peter & Gordon,
Rekid,
Eddi Front,
The Smoke,
Carl Craig,
T. Rex,
Derrick Morgan,
Orchestral Manoeuvres in the Dark,
Altered Images,
Kerrie Biddell,
Stockholm Monsters,
Sugar Minott,
Spoonie Gee,
Amazonics,
Roxy Music,
Visage,
Ash Ra Tempel,
Sarah Menescal,
Throbbing Gristle,
The Seeds,
Guru Guru,
The Slackers,
Shuggie Otis,
Cal Tjader,
Procol Harum,
Eric Copeland,
This Heat,
The Monochrome Set,
FM Einheit,
Wasted Youth,
Andrew Ashong & Theo Parrish,
Easy Going,
Lou Reed,
Manfred Mann's Earth Band,
Nick Fraelich,
Quadrant,
Radiopuhelimet,
Lonnie Liston Smith,
Aaron Thompson,
Michelle Simonal,
Oblivians,
Warsaw,
Desert Stars,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.